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Now everyone is an insider!

In order to provide an open forum for ALL of the museum’s collection and activities, the Paper + People blog is being renamed SCMA Insider. With its expanded focus, SCMA Insider will act as a go-to place for sharing information on the diverse collections and many voices and visions that shape SCMA.

If you want to contribute to the blog, please contact the Brown Post-Baccalaureate Curatorial Fellow, Shanice Bailey, at

  • Thursday, August 30, 2012

    Pandora's Box

    Guest blogger Nathan Rubinfeld was a participant in the 2012 Summer Institute in Art Museum Studies at Smith College.

    Master ZBM; Marco Angelo del Moro (thought to be). Italian, active 1565 – ca. 1586. Pandora’s Box or An Allegory of Les Sciences qui Éclairent l'esprit de l'homme (The Sciences that Illuminate the Human Spirit),1557. Etching on paper. Gift of Sue Welsh Reed, class of 1958, in honor of Priscilla Cunningham, class of 1958. SC 1973:19. Photograph by Petegorsky/Gipe.

    Master ZBM’s exquisite print, Pandora’s Box or An Allegory of Les Sciences qui Éclairent l'esprit de l'homme (The Sciences that Illuminate the Human Spirit)is an ideal point of entry into the Summer Institute in Art Museum Studies’ current exhibition Outside The [Box](on view in the Nixon Gallery at the Smith College Museum of Art from July 27 to September 30, 2012). Gathering fifteen students together from across the country for a six-week museum boot camp, the SIAMS program is a Pandora’s box of sorts. It has certain defined limits – like the four sides of a box – that both contain and open onto innumerable and mysterious fragments of knowledge for its participants.

    Coming from a range of schools, and having studied in a variety of disciplines, the fifteen students were brought together to live and learn every aspect of the daily life of a museum and its staff. In addition to weekly assignments, we were given a room, roughly thirty objects thematically selected by the Smith College Museum of Art, and the task of mounting all aspects of a professional exhibition. The fifteen became three groups of five, as the students were divided into teams to take on the tasks that would make up the exhibition: Curatorial, Design and Public Presentation, and Education.

    As a member of the Curatorial Team, I had the opportunity to experience the difficulties that go into an exhibition’s conception. Handed a considerably large gallery and thirty-some boxes, or artworks related thereto, we were presented with a challenge in defining the thematic overview of the exhibition. How could we make such a seemingly banal, everyday object be seen as exciting and enticing? How were we to adequately address the differing cultural origins of many of the works, as well as being sensitive to alternative meanings given to the box within cultures?

    As our conversation began, one piece we had been given quickly became a pivotal work: Master ZBM’s print, Pandora's Box.We latched onto the etching for the story it enclosed, rather than for a primarily aesthetic reason. We saw Pandora’s box as the first box, as a paradigmatic box. But more than this, we saw in the myth of Pandora an instance in which a box had served as morethan a box, functioning outside the realm of the purely utilitarian. The underlying themes that became guiding for us in defining the parameters of the exhibition were the box as an object that could excite curiosity, and the box as an everyday object that would invite thoughtful reconsideration and reinterpretation.

    The myth of Pandora is definitive in Western ideas of the box as an object of curiosity and a container of mysterious contents. The myth is also a prime example of the historical transformation of a particular box. Though “Pandora’s box” is a common idiom today, it was not always a box, but rather a large and immovable earthenware vessel. Pandora, linked with the Biblical Eve as a woman unable to avoid temptation, was taken up by the Fathers of the Church who were influential in the transmission of the myth and the transformation of her vessel into a box. Just as Eve was understood to be responsible for the fall of man in delivering the apple to Adam, so Pandora became responsible in turn, as her cumbersome vessel was turned into a portable box.

    Detail from Pandora’s Box or An Allegory of Les Sciences qui Éclairent l'esprit de l'homme (The Sciences that Illuminate the Human Spirit).

    Marco Angolo del Moro’s print differs from other representations of Pandora in three important ways, as lucidly described by art historians Dora and Erwin Panofsky in Pandora's Box: The Changing Aspects of a Mythical Symbol.First, though her box traditionally held exclusively good or evil, del Moro’s Pandora released a strange combination of both. From the box emerge symbols of evil, as well as symbols of knowledge. Second, the figure of Pandora is blind, as made clear by her hand gesture, which reveals the absence of pupils. Pandora is not acting upon willful curiosity, but rather unseeingly or unwittingly. Finally, Panofsky describes Pandora’s ignorant action is a blessing in disguise, setting “in motion the powers of light that drive away the creatures of darkness.” The powers of light are personified in the leftmost figure, with her alert gaze and brilliant torch (see above), and the sun-god Apollo, seated in the sky (see below). Apollo points to Aquarius, the zodiacal sign of January, which marks the “Ascent of the Sun” after the peak of winter, symbolizing, in Panofsky’s words, “the beginning of a new year and a new era.” Marco Angolo del Moro’s print allegorically portrays Pandora as Ignorance, an instrument of blind fate bringing about an age of light from which she herself is forever excluded.

    Detail from Pandora’s Box or An Allegory of Les Sciences qui Éclairent l'esprit de l'homme (The Sciences that Illuminate the Human Spirit).

    Beyond Apollo, and depicted in his infamous descent, is the angel Lucifer (see below). The inclusion of this Christian figure serves to make explicit the theological redefinition of the Pandora myth by the Fathers of the Church. Lucifer, in falling from the heavens, presents a visual analogy to the aforementioned fall of man. Del Moro’s etching, dated to 1557, coincides with the Renaissance and the revival of classical humanist ideals. The archetypal and all-knowing “Renaissance man” of the time presents an analogous embodiment of light to that of the torch holding figure beside Pandora. The print portrays the pursuit of knowledge during the Renaissance as a force of literal enlightenment combating the black night of ignorance feared by the Church. After all, “an idle mind is the Devil’s workshop.”

    Detail from Pandora’s Box or An Allegory of Les Sciences qui Éclairent l'esprit de l'homme (The Sciences that Illuminate the Human Spirit).


  • Thursday, August 23, 2012

    Where Do You Put the Emphasis?

    William T. Wiley is something of a cult hero among artists. He is associated with the West Coast Funk Art scene, the irreverent and whimsical anti-establishment art movement that blossomed at the University of California, Davis in the 1960s. His sculptures, paintings, watercolors and performance art works combine Zen philosophy, political commentary, satire, visual and verbal puns and quirky personal symbolism.

    Wiley began working in watercolor in 1968, after a six month artist’s block. Small and delicate, and eminently out of fashion in the contemporary art world, watercolor allowed Wiley to work in a personal, searching, off-beat manner. His watercolors, like his sculptures, are assemblages of sorts, contrasting exquisitely rendered drawings, often of an assortment of curiously grouped objects, with hand-written text. Influenced by Zen koans, statements of questions that resist linear thought, Wiley produced images and texts that blur the line between wisdom and whimsy.

    William T. Wiley. American, b. 1937. Where Do You Put the Emphasis,1971. Watercolor and ink on cream colored paper. SC 2012:1-21. Photography by Amanda Shubert.

    Our watercolor and ink drawing Where Do You Put the Emphasisdepicts a series of blue circles against a craggy background that resembles desert topography. The text reads: “Where do you put the emphasis? Providing there is such a thing.” The reference to “emphasis” suggests punctuation (especially since there is no final period in the text), but visually the circles evoke marbles or billiard balls more than periods, games of strategy, and chance.

    This little drawing is one of my favorite objects from our new Pokross Collection of modern and contemporary art from Shared Inspiration: The Muriel K. and David R. Pokross Collection.As I researched Wiley for the exhibition, trying to learn more about this object, I was pulled into the labyrinth of associations that is Wiley’s personal mythology. For starters, I found that the circle motif kept cropping up elsewhere in Wiley’s work during 1971.

    In Random Remarks and Digs(pictured below), he conceived of the circles as atoms and molecules visible to the naked eye:

    I even found the motif elsewhere in our collection. Coast Reverse,printed on chamois leather, was made in 1972:

    William T. Wiley. American, b. 1937. Coast Revere,1972. Chamois printed on special Arjomari with hand acrylic painting and drawing. SC 1972:38-8b. Photography by Amanda Shubert.

    Read more about Shared Inspiration: The Muriel K. and David R. Pokross Collection hereand here.Then come see Where Do You Put the Emphasisand Coast Revereby making an appointmentat the Cunningham Center for the Study of Prints, Drawings, and Photographs.


  • Friday, August 17, 2012

    Outside the [Box]

    Guest blogger Kendyll Gross was a 2012 participant in the Summer Institute in Art Museum Studies at Smith College. She also served as the 2012 Brown SIAMS Fellow, which offers one SIAMS student a  four-week internship in the Cunningham Center for the Study of Prints, Drawings, and Photographs.

    The Summer Institute in Art Museum Studies class of 2012 at the opening reception for Outside the [Box].Photograph by Julie Warchol.

    When I was accepted into the Summer Institute in Art Museum Studies (SIAMS)program, I could wrap my mind around the weekly readings and writing assignments, the extensive traveling, and the career exploration days we would be doing. However, I could not fully grasp the concept of putting on an exhibition in only six weeks, something that usually takes years of planning and work. It was not until I set foot in the museum’s Nixon gallery for the first time that the imminence of our exhibition seemed so real. It was exciting to see the objects that we could include in our show, but it was also overwhelming knowing how much work we had to do in so little time.

    Our class of fifteen was divided into three groups of five: Curatorial, Education, and Design and Public Presentation. After choosing thirty-three pieces, Curatorial was then faced with the challenge of weaving together these diverse objects into a single theme. How would we tie together a twentieth-century W. Eugene Smith photograph with an eighteenth-century French snuff box? The Master ZBM print, Pandora’s Box or An Allegory of Les Sciences qui Éclairent l'esprit de l'homme (The Sciences that Illuminate the Human Spirit),was a great inspiration for our theme. The myth of Pandora’s Box has popularized the notion of the box as an object of curiosity as it conceals its contents from the viewer. We wanted our exhibition to challenge the idea of what a box was by evoking a dialogue between objects from diverse cultures and time periods in a respectful manner. Just like Pandora, we wanted our audience to be fascinated by our boxes and to question them - to truly think outside the [box].

    With our theme and object checklist established, it was time for Design and Public Presentation and Education to make the gallery come alive. Design and Public Presentation were responsible for the overall design of the show and the marketing materials, choosing a color scheme that would complement the objects, organizing the layout of the gallery, and installing the art. As a member of the Education team, I worked closely with fellow classmates to create the didactic materials for outside the [box].We did not want the labels to dominate the viewer’s experience, so we mixed a few extensive labels of varying lengths with short “tombstones” labels. We also refrained from using words and concepts that appeared too academic. An alcove within the gallery serves as a place for families to reflect upon what they see in the exhibition. It also gives them the chance to tack sticky notes on the museum’s wall while reading an adorable story about a bunny with a grand imagination. While the introductory wall text sets the tone of the exhibition, the kids’ pamphlet and audio tour serve as guides to help the audience interact with the show.

    It was an honor to work with such an enthusiastic and bright group as a part of the SIAMS class of 2012. Together, we constructed an entire exhibition from scratch in six weeks, utilizing each other and our resourceful SCMA mentors for guidance and support. We truly hope that the Northampton community will enjoy our show as much as we enjoyed creating it.

    Outside the [Box]is on view in the Nixon gallery until September 30, 2012. Read more about the exhibition here.

    This installation shot features works by Larry Bell, Robert Rauschenberg, Marcel Duchamp, and many others. Photograph by Julie Warchol.

    SCMA staff members check out works by Claes Oldenburg, Max Peckstein, and Jane Hammond. Photograph by Julie Warchol.

    The Education alcove space, where visitors can create and post their own responses to the show. Photograph by Julie Warchol.


    Marion Goethals - 23/08/2012

    out of the [box] and SIAMS 2012

    Can you imagine living and working with 16 total strangers for six summer weeks? : through sickness and health, richer and poorer, heat and cold, Lamont and Hillyer, Hubbard and hiking Mount Holyoke? Not only to live, learn, and travel together with all that it implies, but to develop a full exhibition project together in a very short time frame?

    The Summer Institute in Art Museum Studies Class of 2012 was the “sure, we can do that” class; the “not a problem” class; they had together a great can-do attitude. But they had much much more than positive attitude; each one is extremely smart and deeply thoughtful. They both taught and learned from each other just as their four teachers have taught and learned from them.

    But this class of strangers came together particularly to ‘protect and honor’ their boxes, the objects which you may see at the Smith College museum in their show “out of the [box]”. They united in their recognition that the objects in the show -- which originate from all around the globe and from many cultural traditions -- should be allowed to tell their own stories and not to have their heritage consumed by an overly didactic organizing theme. That intelligent respect for the boxes, and for each other, is what we mean by ‘protect and honor’.

    One participant succinctly summed up the impact of the SIAMS program: “How could I explain that we didn’t do it for the final destination?” So yes, DO imagine living and working for six weeks with total strangers because quite quickly you find, as they did, a common creative purpose and become friends and colleagues.

    Thanks to everyone, and to Kendyll Gross and Julie Warchol for their posts, Marion Goethals, Director, SIAMS

    Corinne Bart - 20/08/2012

    Taming of a Garden

    Is a gallery boundless? Due to the free form aestheticism of its composition, one would guess so. Yet this characteristic is often overlooked; and by many art exhibitioners, may even be denied.

    A gallery is a living collection of artistic specimens. Carefully crafted by an artist, each art piece is enveloped in its own aura. Like a seed, each piece waits for its surface to be scratched by the gallery's viewership. With more visitors, more activity, the gallery starts to come alive.

    Galleries' pieces take root in their respective places. They grow, develop an aesthetic presence which, overtime, become interwoven in that of the other works.

    Once established, a gallery is its own garden; a box, if you will, whose own dynamic aura interchanges with the particular environment it is suited to. But like every garden, there is a gardener. Who picks out the pieces, arranges them, has an often intuitive sense of which will grow well near what. The success of the box is dependent on this gardener, yet, need only be fed resources once it has blossomed and been enriched by the feet, breath, and energy of its visitorship.

    However, the SIAMS gallery is anything but boxed by the planks of a single mind, the masonry of a set of hands. Still groomed, still intricately arranged and planted, it is not wild. But is it boundless? I would argue yes, and rightfully so.

    The SIAMS participants have given way to nature of the gallery-creating process. Their exhibit holds a respect for the erection of these five pillars: Curation, Education, and Design and Public Presentation; which uphold the institution of formalized human aestheticism. With ripe and ever vigorous professionalism, depth has been given to the notion, "out of the box".

    For this, I offer the utmost esteem and gratitude for Ms. Kendyll Gross and the rest of the SIAMS class of 2012.

    Your work will and should be remembered. Good luck with your future endeavors, though from here they appear very bright.

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